Moment(s)

Moment(s) 

Cartier-Bresson + Duane Michals

“Photographers deal in things which are 

continually vanishing and when they have 

vanished there is no contrivance on earth 

which can make them come back again.” 

-Henri Cartier Bresson 

“Photography does deal with ‘truth’ or a kind of 

superficial reality better than any of the other 

arts, but it never questions the nature of reality 

- it simply reproduces reality. And what good 

is that when the things of real value in life are 

invisible?” 

-Duane Michals 

2


Cartier-Bresson + Duane Michals 

Curated by Emily Dahuron 

Stamps School of Art and Design 

The University of Michigan


No part of this publication may be reproduced, stored in a retrieval system, or 

transmitted in any form or by any means, electronic, 

mechanical, photocopying, recording, scanning, or otherwise, except as 

permitted under Section 107 or 108 of the 1976 United States Copyright Act 

and except by reviewers for the public press, without written permission of the 

artist. 

Cartier-Bresson + Duane Michals 

All works pictured in this publication copyright of the artist. 

Library of Congress Cataloging-in-Publication Data: 

Moment(s): Henri Cartier-Bresson + Duane Michals 

ISBN: 978-0-9907249-4-0 

Art and Design. I. Title. II Title. 


Printed in the United States of America. 2016. 

0 0 0 0 0 0 0 0 0 0 

Credits 

Curator, Copy Editor & Designer: Emily Dahuron 

Printing: University Printing 

Letterpress (Diptych series): Fritz Swanson, Wolverine Press 

Paper: 80lb. cover and 100lb. 

Typefaces: Berthold Akzidenz Grotesk (Light and Italic) 

Baskerville (Regular and Italic) 

Contact: 

Emily Dahuron 

edahu@umich.edu

Contents 

10 

11 

14 

16 

20 

Acknowledgments 

Curator’s Statement 

Cartier-Bresson 

Duane Michals 


The Work 

24 

38 

66 

80 

Political & Social 

Portrait 

Desire 

Metaphysics 

113 

114 

115 

Bibliography 

Index of works by Cartier-Bresson 

Index of works by Duane Michals

Acknowledgments 

Curator’s Statement 

A special thank you to Henri Cartier-Bresson and Duane Michals for their 

infleuntial work and life’s moments they’ve captured and shared. I also wish 

to thank Franc Nunoo-Quarcoo for his guidance in the creation of this 

book. Lastly, an exceptional thanks to my computer for not crashing on me 

during this project and the Stamps printers for working this year, making this 

publishing endeavor possible. 

Moment (s) is an exhibition that explores the photographic work of Henri 

Cartier-Bresson along side that of Duane Michals. Within the realm of 

photography, the two artists are commonly viewed as quite distinct, both 

in time and in style. However, in conversation, their work challenges the 

traditional notions of photography, encouraging viewers to open up to new 

layers of meaning. The power of the single image and the tool of photography 

are brought into question as the growth and changes of the medium 

over the 20th century are placed side by side. The encounter of Cartier- 

Bresson’s “Decisive Moment” with the multi-image sequential work of Duane 

Michals creates a dialogue fueled by both confrontation and synergy in the 

exploration of life’s greatest moments: the themes of childhood, death, faith, 

love, and the human condition. 

10

Henri Cartier-Bresson 

Soviet Union Leningrad. Peter and 

Paul’s fortress on the Neva River 

1973 

12 

Duane Michals 

I Build A Pyramid 

1978


Henri Cartier-Bresson was a pioneer of modern-day documentary 

photography, born in Chanteloupe, Seine-Marne, France in 1908. After 

studying painting and with a strong interest in surrealism for the early part 

of his life, Cartier-Bresson picked up a camera in 1929, and by 1933, after 

spending a year living in Ivory Coast where he discovered Leica cameras, 

he had his first exhibit at the Julien Levy Gallery in New York City. In 

only a few years, Cartier-Bresson was working for several magazines and 

publications, traveling the world as a photographer. He married his first wife, 

Ratna Mohini in 1939, divorcing her 30 years later. Soon after, he married 

Magnum photographer, Martine Franck with whom he had his daughter, 

Melanie. In 1939, he enlisted in the French Army during World War II, only 

to be taken as a prisoner of war by Germany and spend 35 months in prison 

camps, thought by his loved ones to be dead. However, he managed to escape 

in 1943, joined the resistance and organized a photo unit to document the 

German occupation. In1945, he photographed the Liberation of Paris. 

With the war over and the prevelance of documentary photography on 

the rise, Cartier-Bresson founded Magnum Photos in 1947 with peers 

Robert Capa, George Rodger, David Seymour, and William Vandivert. 

Together with Magnum, they helped raise the status and importance of 

photojournalism. By the 1960s, photography had become an appreciated 

art form and Cartier-Bresson was considered a master of the craft, having 

traveled all over the world as witness to some of history’s most important 

events. However, by 1966 he lost faith in the medium, withdrawing his stake 

in Magnum and returned to his first passions, drawing and painting. Cartier- 

Bresson died in Montjustin, France in August 2003. 

He has won a great number of awards and has published over a dozen books 

including his most famous, his first book, The Decisive Moment. Today, Cartier- 

Bresson lives beyond his life as one of the most notable photographers in 

history and a pioneer of street photography. 

14 

Ara Guler 

Henri Cartier-Bresson with Leica M3 

1964

Duane Michals 

Duane Michals was born in 1932, raised in McKeesport, Pennsylvania, 

outside of Pittsburgh, to his steel-working father, Jack, and live-in domestic 

helper mother, Margaret. At the young age of fourteen, Michals started 

taking art classes at the Carnegie Institute, later enrolling at the University 

of Denver where he studied graphic design and joined the Reserve Officers 

Training Corps in 1949. He graduated four years later and immediately 

following, served in the U.S. Army while stationed in Germany for two years 

before moving to New York City where he studied graphic design at the 

Parsons School of Design. Finally, in 1958, he traveled to Russia with a 

camera a friend lent him, only then finding his true passion for photography 

as he created portraits of the people of Russia. Just five years later, in 1963, 

Michals had his first solo exhibition as a self-taught photographer at the 

Underground Gallery in New York. 

Michals quickly began working as a freelance photographer. His fashion 

photography and portraits were published in highly esteemed publications, 

including Vogue, Esquire, and Life Magazine. Though he continued working 

as a freelancer, he lost interest in the popular way of working at that 

time, stating, “Fashion photos can be gorgeous and extremely satisfying, 

beautiful, all those things. But to me it has to be about something a little 

more significant than “this year.” Art deals with truths that are beyond style.” 

Therefore, in the 1960s, Michals transitioned out of a documentary approach 

and began working in series, inspired by Surrealist painters including Rene 

Magritte. 

Since then, Michals’ work began to explore philosophical questions and 

emotion, utilizing techniques such as mutliple exposures, photo manipulation, 

handwriting, and staging. His challenges to the traditional notions of 

photography have earned him recognition for pushing the boundaries of the 

photographic medium. He has been recognized with numerous awards and 

has published over twenty books of his work. Michals currenlty lives and 

works in New York City. 

16 

Duane Michals 

Self Portrait as a Devil on the 

Occasion of My Fortieth Birthday 

1972


Soviet Union. Russia. Leningrad. A 

portrait of Lenin decorates a facade 

of the Winter Palace 

1973 

18 

Duane Michals 

Things Are Queer 

1973



Duane Michals 

Cartier-Bresson successfully and beautifully synthesized the two major 

traditions of photography present in the 20th century: fine art photography 

and photojournalism. Influenced by his personal experiences in the war and 

the headlining events and conflicts of the time, Cartier-Bresson showed strong 

interest in the subject he was photographing and the particular moment he 

chose to capture, lending meaning to the image. Through his images, he 

sought to elicit empathy among his viewers while allowing access into the lives 

of others, reminding us all of our inherent similarities as humans. 

Simultaneously, he had an equal sensitivity to the formal qualities of the 

image as a fine artist. His compositions are evident of his interest in the 

simple beauty of geographic shapes, in a way reminding us to enjoy the things 

around us, no matter how seemingly minute of a detail they may be. 

In 1952, he coined the term “the decisive moment” and published his 

first book with the same title. As Robert Sobieszek, the chief curator of 

photography at the Los Angeles County Museum of Art explains, “To 

capture the decisive moment, the nanosecond when things coalesce for the 

perfect image, is an art. It is a talent that very few people have. You have 

to anticipate, and push the button a fraction of a second before it happens. 

You have to photograph the future.” Henri Cartier-Bresson’s single images 

are mindfully crafted and in one moment, alludes to a place or time we may 

otherwise have never encountered. 

As Michals has said, his early works were “observations of discovered 

people and places,” taking after the expanding importance of documentary 

photography in America at the time and the work of Cartier-Bresson and 

his peers. However, Michals was more interested in what happened before 

and after the decisive moment. Heavily influenced by European eccentricity 

and surrealist art, Michals’ methods and style of working directly reflect 

the notions of uncertainty and inquiry. His photo manipulations are evident 

throughout his photographs, but even though the ruse is obvious and visible, 

the power of the resulting photograph is never compromised. Via his use 

of alternative techniques such as sequencing, double exposure, and the 

incorporation of handwriting, he challenges traditional notions of photography 

as a tool of truth and a means of documenting the human condition. 

Michals introduces mystery and depth to his otherwise straightforward 

narratives of modern life. As he developed his own artistic vision, his subject 

remained people, but his treatment of the photograph and techniques began 

to convey a strong, slightly humorous voice with an eye for the oddities of 

simple and humanistic moments. “The most important things of our lives are 

philosophical. Are unseen, rather. My photographs are about questions. They 

are not about answers. I think photographs should provoke, should set up the 

question, the premise, and shouldn’t give the answer,” he says. In his works, 

we see ourselves and are faced with the same questions of uncertainty that 

Michals has placed before us. Duane Michals stretches the decisive moment, 

thereby lending us a new story and reminds us of the beauty in not knowing. 

20


Soviet Union. Russia. Moscow. 

The Slava Watch factory. Break time. 

1972 

22 

Duane Michals 

Self-Portrait with Andre Kertesz 

in the Manner of David Hockney 

1975

Political & Social 

24 

Cartier-Bresson is twenty-four years Michals’ senior but it is interesting to 

find that though raised and living in different times, their experiences brought 

them onto similar paths and motivations that include war, surrealism, and 

most importantly, the significance of people and the human condition. 

Between 1926 and 1935, Cartier-Bresson shared many encounters with 

the Paris surrealist group and learned “to question the tenets of his own 

bourgeois upbringing, becoming interested in social and political issues.” 

Under the tutelage of French surrealist writer and poet, Andre Breton, he 

was inspired by the notion of life’s uncertainties and uncontrollable moments, 

or as Breton called it, objective chance. “The camera is a wonderful tool 

to capture objective chance,” says Cartier-Bresson. As he traveled, first 

throughout Europe then to the United States and Mexico, as well as Africa 

and Asia, the photographer’s leftist political involvement became evident 

across his work in combination with his surrealist influence. 

Though several decades later, Duane Michals was equally as influenced 

by the surrealists, especially the work of Rene Magritte. During his 1958 

trip to Russia that sparked his interest in photography, he was focused on 

capturing an instant in time, the people he encountered, working in the same 

way as Cartier-Bresson. However, Michals was quickly dissatisfied with the 

capabilities of the single image and by the time of his first gallery show in 

1963, the work was substantially different, incorporating sequences that 

exemplified objective chance, only this time, rather than simply seeking it 

and capturing it, Michals created his own chance, his own fictional narratives. 

Cartier-Bresson’s 1929 photo taken in Paris of a cluster of dismembered 

parts, including hands, feet, and limbs of store mannequins (p. 32), in its 

ambiguity, is deeply unsettling, reminiscent of the same Surrealist themes 

of contortion and disembodiment. Comparatively, Michals’ 1974 sequence, 

“Alice’s Mirrors,” is equally as unsettling. An innately harmless set of mirrors 

is instilled with a certain edge and threat with an ultimate demise implied in 

the final two images. By many, the series is interpreted as a commentary on 

the rising number of deaths by AIDS at the time, something that impacted 

his life substantially as he was gay and often used his work to deal with his 

sexuality and its social implications. Though the works respond to different 

social issues and events current of their time, both pieces are evident of the 

unnerving and non sequitur influence of surrealism. 

Their work alongside one another reveals their similarities in social and 

political themes that effect human life including those of human rights, 

sexuality, race, conflict, and working conditions. Simultaneously, the 

comparison acknowledges the vast differences in their approach and 

use of the photographic medium. Cartier-Bresson, direct in his capturing 

of the moment, found himself always in the right place at the right time, 

documenting all the major political events and conflicts of his era. He stands 

out for the gentle and timeless human element present in each of his images, 

prohibiting their true categorization as photojournalism belonging of a 

newspaper. Despite their context, Cartier-Bresson’s images stand as lessons 

of humanity, even as memories of the events they depict fade. 

This is where the work of Duane Michals takes a surprisingly similar path. As 

described by William Burback of the Museum of Modern Art, “The mysterious 

situations he invents are posed and theatrical. Yet, they are so common to the 

urban condition that we have the illusion of remembering scenes and events 

experienced for the first time. These pseudo-events become fact because 

the photographs prove that what we know to be impossible happened.” Both 

photographers provide us timeless commentary on the state of humanity and 

what it means to be human. When considered in their context of time, the 

photos reveal a second layer of social and political commentary. 

But in intent, they stand different. As Michals has said about the subdued 

politicization of his work, “I feel political aspirations are impotent. They can 

never be seen. If they are, it will only be by a limited audience. If one is to 

act politically, one simply puts down the camera and goes out and does 

something…Photographers tend to go out and photograph wars once they’ve 

begun.” Utilizing his own handwriting, Michals inserts personal meaning and 

presents the world to us through his eyes. Together, the two artists provide 

the opportunity to ponder the political and social spheres of life that we 

willingly and unwillingly partake in, and require that we forgo complacency to 

take on an active voice in the creation of human history.


Washington 

1961 

26 

Duane Michals 

Old Money 

1982


Soviet Union. Russia. Leningrad. 

Commemorating the victory over the 

Nazis 

1973 

28 

Duane Michals 

Young Soldiers Dream in the Garden of the 

Dead with Flowers Growing from Their Heads 

1995


France Paris. 1st of May celebration. 

Demonstration 

1971 

30 

Duane Michals 

The Unfortunate Man 

1976


France 

1929 

32 

Duane Michals 

Alice’s Mirror 

1974


Cuba 

1963 

34 

Duane Michals 

Black is Ugly 

1974


USA. New York City. Manhattan. 

Downtown 

1946 

36 

Duane Michals 

Chance Meeting 

1970

Portraits 

For Cartier-Bresson, “Portraits are the only thing in which photography 

surpasses painting.” He has said that photographs can dig for the soul since 

the artist needs never to be concerned with capturing likeness of the subject. 

When shooting strangers and portraits on the street, Cartier-Bresson aimed 

to instill and teach empathy to his viewers for the subject – something he 

believed could not be done when staging a photo. “‘Manufactured’ or staged 

photography does not concern me. And if I make a judgment it can only be on 

a psychological or sociological level. There are those who take photographs 

arranged beforehand and those who go out to discover the image and seize 

it.” Cartier-Bresson seeks to seize it as he did when he captured the beauty 

of prostitutes peeking their heads out of small holes in Mexico (p. 46) or the 

dignity of a worker at the central market in Paris (p. 62). The environment of 

his subjects is essential in capturing someone’s soul, “for man, no less than 

animals, has his habitat.” 

While Cartier-Bresson seeks to reveal the soul, Michals believes this to be 

nearly impossible: 

“I don’t believe that people are what they appear to be. You 

can make a person look like anything you want him to. If he’s 

crying you can make him look like a dope fiend. If you catch 

him mid-yawn, I mean, you know. And the persons themselves 

don’t know who they are. Their only concern is vanity. I’ve 

always found the bottom line is vanity. It’s how good do I look? 

I don’t try to make anyone look unattractive, but I don’t try 

to flatter either. I simply try to deal with what I find… It’s an 

artificial relationship. I think maybe Cartier-Bresson’s portraits, 

where he sneaks up on people, have more validity, but I much 

prefer to take charge of the photograph.” 

Cartier-Bresson has said, “One must always take photographs with the 

greatest respect for the subject and for oneself.” As for Michals, “Good 

portraits are always that, the balance between the person being who he is 

plus the identity of the photographer.” Unaware of their speakers, it would 

be easy to believe these two quotes came from the same photographer. 

Both artists have their personal dissatisfactions and issues with portraits and 

take a similar stance on the importance and unavoidable presence of the 

photographer in any situation. 

Both would also agree that when the subject is uncomfortable in front of the 

camera, the validity of the portrait is a futile attempt. Cartier-Bresson takes 

the risk in the hopes of finding that “decisive moment” that is neither staged 

nor presupposing of his own opinions to reveal something new of his subject. 

On the other end, Michals, through stages and sequences, discusses an 

identity all humans inherently own that consists of a common life cycle, from 

birth to death, including unavoidable losses that arise over time, the control 

of love and lust in our behaviors, or the implications of being different. He 

questions the barriers between existing, being, and not being, in himself, but 

more prominently, for humanity as a whole. 

When asked about his portrait of Joseph Cornell (p. 41) Michals admits 

that all photos are a balance between the subject and the photographer’s 

perspective. Similarly, on his photos of Warhol (p. 49), Michals says, ”I didn’t 

pervert the identity, but I balanced it like a teeter-totter with my own way of 

seeing.” 

38


France. Paris. House painter 

1980 

40 

Duane Michals 

Joseph Cornell 

1971


Portugal. Beira Alta. Lamego. Man 

repairing shoes in his house 

1955 

42 

Duane Michals 

Marcel Duchamp 

1964


Soviet Union. Russia. Moscow. Zis factory. 

The trucks production 

1954 

44 

Duane Michals 

William Dekooning 

1985


Mexico 

1934 

46 

Duane Michals 

Anonymous and The Mirror 

Unknown

48

50


Italy 

1933 

52 

Duane Michals 

Who is Sidney Sherman? 

2000


Turkey. Anatolia. Manisa. Celebration of 

the 29th of October 

1964 

54 

Duane Michals 

Homage to Cavafy 

1978


Europe. Tibetan Kalu Rinpoche. 

Buddhist meditation teacher. 

1987 

56 

Duane Michals 

David Hockney with Friends 

1975


India. Gujarat. Baroda. Festivities 

for the 39th birthday of the Maharajah 

1947 

58 

Duane Michals 

This Photograph Is My Proof 

1967


Brussels 

1932 

60 

Duane Michals 

Magritte with Hat 

1965


France. Paris. Les Halles central market 

1952 

62 

Duane Michals 

Sting Looking Like a Young Danny Kaye 

1982


USA. New York City. The US actress 

Julie Harris 

1960 

64 

Duane Michals 

Inside and Outside 

1975

Desire 

Cartier-Bresson is said to have used black tape to cover the shiny parts of 

his Leica camera in order to remain inconspicuous, ensuring the actions he 

captured were as candid as possible. This strategy and the gift of knowing 

exactly when to press the shutter allowed Cartier-Bresson access to 

different situations, including moments shared between people. He has 

said, “In photography, the smallest thing can be a great subject. The little 

human detail can become a Leitmotiv.” 

His work questions the natures of humanity while also allowing Michals the 

opportunity to cope with his personal experiences. As a gay man, feelings of 

not being accepted by both society and his family often play an important 

role in the meanings of many of his works. While Cartier-Bresson sought to 

introduce viewers to moments of intimacy and desire, Michals aims to 

understand desire and attraction between both humans and himself. 

One such small human detail includes intimacy. The themes of desire, 

lust, love and romance are prevalent in his work and often presented with 

ahumurous and keen eye. His 1973 photograph of a large advertisement 

featuring a woman’s chest (p. 68) exemplifies his talent for finding 

extraordinariness in the ordinary. His framing of the advertisement 

and the bike introduce a level of humor and social commentary on the 

commoditization of sex. As a result of his sensibility and patience in finding 

the perfect moment, Cartier-Bresson reveals to us scenes and things around 

us that by most, would have been left unseen. 

While the themes of love and desire are equally present in Michals’ work, 

his interest lies not in simple, intimate human moments, but rather love as a 

basic human need. Love between humans is a recurring theme throughout 

his work, whether it be romantic or familial and in his casting of “actors” for 

his pieces, we see ourselves in them and can relate on the mere premise of 

being human. 

One of his most well known sequences, “Fallen Angel,” created in 1968 

(p. 71- 75) portrays an erotic fantasy or dream-like scene in which a naked 

and winged-angel encounters a woman sleeping. He seduces her before 

leaving the scene having lost his wings. The sequence questions themes of 

power, guilt, and innocence, emotions familiar to all humans “Lust changes. 

Desire changes. The greatest of all desires being the desire to “be.” Sexual 

eroticism is at the service of that essentially because once one loses lust, 

one can live without sex, but once one loses the desire to live, to be, it’s 

over. Life is constantly expressing itself against all odds,“ has said Michals. 

66


Fracne. Ile de France 

1973 

68 

Duane Michals 

Take One and See Mt. Fujiyama 

1975


Italy 

1933 

70 

Duane Michals 

The Fallen Angel 

1968

72

74


Romania. In a train 

1975 

76 

Duane Michals 

Paradise Regained 

1968


Spain 

1933 

78 

Duane Michals 

The Most Beautiful Part of a Man’s Body 

1986

Metaphysics 

Cartier-Bresson, with life as his muse and people as his subject, invariably 

takes on the metaphysics that pertain to all of human kind. Over a life of 

documenting the world’s greatest and most infamous moments, people, and 

events, Cartier-Bresson’s work is inherently fueled by life’s biggest questions, 

inescapable by the very being of humanity. In documenting death, childhood, 

war, love, desire, happiness, sadness, anger and every facet of emotion and 

human glory in between, his work chronicles the realities of the dream states 

that Michals creates. His portraits provide the viewer with the opportunity to 

analyze and question reality and identity through the light-hearted and often 

humorous eyes and lens of Michals, rather than through their own. 

The sequence, “Grandmother and Odette Visit the Park” speaks true to his 

work (p. 95). On the surface, the series appears to show a somewhat silly 

and joyful time at the park shared between a grandmother and her 

granddaughter. But with the last frame, he introduces a new level of 

commentary all together on the reality of growing up. The identity of the 

grandmother and granddaughter prove to be irrelevant as he creates an 

accessible and identifiable scenario that relates to all mankind, portraying 

an inevitable fact of human life. The exact location of the park is not 

important, but rather the park’s representation of childhood is what matters. 

The granddaughter’s adventures stand for human experiences of violence, 

dispute, joy, love, and excitement that make up adulthood and in the end, 

life. The series shows how as children become adults, they go through 

many adventures, both good and bad, and along the way, become distant 

with independence, only to complete the cycle with the inevitable loss of 

their grandparents and parents. And in the end, he has produced a narrative 

that anyone can relate to and understand due to the simple fact that we 

all age. 

Together, their work serves as a powerful reminder of the perilous place of 

humankind on this earth and deny complacency to their viewers. In specificity, 

Cartier-Bresson acknowledges the inherent and inarguable similarities among 

all humans. In imagination, Michals reveals the guaranteed fleeting and 

uncertain nature of reality as we all pass through the stages of childhood, 

adulthood, and death. 

80


India. Kashmir. The Hazrat Bal 

1947 

82 

Duane Michals 

Salvation 

1947


Ireland. Province of Leinster. Kildare 

County. Seminary at Maynooth. 

1962 

84 

Duane Michals 

A Man Going to Heaven 

1967


India. Delhi. The cremation of Gandhi on 

the banks of the Sumna River 

1947

88

90

92 

Duane Michals 

Death Comes to the Old Lady 

1969


USA. New York City. Manhattan. Bowery 

1946 

94 

Duane Michals 

Grandmother and Odette Visit the Park 

1992

96


France. Paris. Rue Mouffetard 

1952 

98 

Duane Michals 

The Return of the Prodigal Son 

1982

102


France. Nord-Pas de Calais 

1976 

104 

Duane Michals 

A Letter From My Father 

1960/1975


Spain 

1933 

106 

Duane Michals 

The Man Who Invented Himself 

1970


Spain 

1933 

108 

Duane Michals 

Illuminate Man 

1968

110

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Review: Henri Cartier-Bresson | History Today. History Today, 4 June 2014. 

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Photographs of Duane Michals. Print. 

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Henri Cartier-Bresson. New York: The Museum of Modern Art. 

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New York: Published by Simon and Schuster in collaboration with 

Éditions Verve of Paris. 

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N.p., n.d. Web. 09 Dec. 2016. 

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112

Index 

Works by Cartier-Bresson 

Works by Duane Michals 

Soviet Union. Russia. Leningrad. Peter and Paul’s fortress on the Neva River, 1973 

Soviet Union. Russia. Leningrad. A portrait of Lenin decorates a facade of the 

Winter Palace, 1973 

Soviet Union. Russia. Moscow. The Slavs watch factory. Break time, 1972 

Soviet Union. Russia. Leningrad. Commemorating the victory over the Nazis, 1973 

Washington, 1961 

USA. New York City. Manhattan. Downtown, 1964 

France. Paris. 1st of May celebration. Demonstration, 1971 

USA. New York City. The US actress Julie Harris, 1960 

France, 1929 

Cuba, 1963 

France. Paris. House painter, 1980 

Portugal. Beira Alta. Lanego. Man repairing shoes in his house, 1955 

Soviet Union. Russina. Moscow. Zis factory. The trucks production, 1954 

Mexico, 1934 

France. Paris. French writer Albert Camus, 1944 

Itlay, 1933 

Turkey. Anatolia. Maisa. Celebration of the 29th of October, 1964 

Europe. Tibetan Kalu Rinpoche. Buddhist meditation teacher, 1987 

India. Gujurat. Baroda. Festivities for the 39th birthday of the Maharajah, 1947 

Brussels, 1932 

France. Paris. Les Halles central market, 1952 

France. Ile de France, 1973 

Spain, 1933 

Italy, 1933 

Romania. In a train, 1975 

Ireland. Providence of Leinser. Kildare County, Seminary at Maynooth, 1962 

India. Delhi. The cremation of Gandhi on the banks of the Sumna River, 1947 

India. Kashmir. The Hazat Bal, 1947 

USA. New York City. Manhattan. Bowery, 1946 

France. Paris. Rue Mouffetard, 1952 

France. Nord-Pas de Calais, 1976 

Spain, 1933 

Spain, 1933 

I Build a Pyramid, 1978 

Self Portrait as a Devil on the Occasion of My Fortieth Birthday, 1972 

Chance Meeting, 1970 

Self Portrait with Andre Kertesz in the Manner of David Hockney, 1975 

Young Soldiers Dream in the Garden of the Dead with Flowers Growing from Their Heads, 1995 

Old Money, 1982 

The Unfortunate Man, 1976 

Inside and Outside, 1975 

Joseph Cornell, 1971 

Alice’s Mirror, 1974 

Black is Ugly, 1974 

Marcel Duchamp, 1964 

William DeKooning, 1985 

Anonymous with the Mirror, Unknown 

Andy Warhol, 1958 

Who is Sidney Sherman, 2000 

Homage to Cavafy, 1978 

David Hockney with Friend, 1975 

This Photograph is my Proof, 1967 

Magritte with Hat, 1965 

Sting Looking Like a Young Danny Kaye, 1982 

Take One and See Mt. Fujiyama, 1975 

The Most Beautiful Part a Man’s Body, 1956 

The Fallen Angel, 1968 

Paradise Regained, 1968 

A Man Going to Heaven, 1967 

Death Comes to the Old Lady, 1969 

Salvation, 1947 

Grandmother and Odette Visit the Park, 1992 

The Return of the Prodigal Son, 1982 

A Letter From My Father, 1960/1975 

The Man Who Invented Himself. 1970 

The Illuminated Man, 1968 

114 

Henri Cartier-Bresson with Leica M3, created by Ara Guler, 1964

116

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